Vintage Wedding Photography

Retro is in. Just browse the pages of fashion magazines or look at the high street chains to see how much vintage 70s fashion is back in. Bands like Florence and the Machine and Mumford and Sons have also had a big influence on vintage mix and match fashion so it's now cool to wear a 70s patterned dress again or your grandad's flat cap. And although it not might be an obvious connection, this has also made it's way into the way people are planning their weddings.

Some couples are now opting to dress in a vintage style with a DIY feel which is a far cry from the traditional meringue wedding dress and top and tails! Anything goes, from brides in vintage lace wedding dresses and flower head garlands to grooms in tweed and bow ties.

The retro theme doesn't stop at fashion either. Couples spend time meticulously planning the details of their wedding and will often choose an unconventional location and decorate it in funky home made details and favours. The quirkier the better! I've seen outdoor shoots which have used props like Victorian bird cages, retro cameras, sheets strung between trees and balloons in pastel shades to complement the vintage feel. Using props in photography is nothing new and is actually a great tip if you want to make your couple feel at ease in front of the camera as it gives them something to focus on and worry less about the photographer in front of them!

From a photographic point of view, a wedding with carefully thought out details and outfits is gift from above! Not only does it mean that the couple and their chosen location look great, it also provides the photographer with great creative freedom when processing the pictures. Vintage processing is very popular at the moment, where the photographer emulates the look of print films and techniques from the 70s. One of the best known is cross processing, which although discovered by mistake, has been used to great effect for decades. Its style is easily recognised as there is a colour shift in the shadows and highlights which gives the photo its trade mark retro look. Other popular techniques at the moment include giving the pictures a polaroid look which is typified by creamy tones in the highlights and blues in the shadows. Who would have thought cheap 70s technology would now be emulated by photographers with expensive modern DSLRs? There are many photographers out there who think modern digital images are too clean and lack the character of old film.

It's an exciting time to be a wedding photographer as current trends and the demands of modern couples is making it more of an artform than it's ever been. The days of uncreative, staid wedding photography are numbered.

Need more information about shooting a vintage wedding. Contact one of London's leading Wedding Photographer 's. Rik Pennington is reportage wedding photographer in the UK. He can be contacted at Rik Pennington Wedding Photography, 28 Banning Street, Greenwich, London, SE10 9PH - You can call him on Tel: 020 7255 2527.

Alternatively visit his website and browse a Vintage Wedding Photographer 's blog.

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The wonders of modern technology never cease to amaze me. Growing up with a traditional camera and film and understanding the complexities of color film and the magic of color film processing, was indeed a fascinating period. Apple's Aperture 2 and Adobe Photoshop Lightroom 2 supports 16-bit print drivers for Epson and Canon printers, allowing you to produce high-quality output with smoother gradients and better color fidelity...no darkroom needed.

However, you do need to ensure that you have a consistent 16 bit workflow from the image capture, through to image editing, and finally to the print output. This means that you need to capture your images in the RAW format. It is only with the RAW format that the image will have the required image data to make a difference on the printed output.

Of course, when making a decision to purchase a digital camera, you need to look at the number of pixels the sensor will capture. Most low end digital cameras, the consumer models, will not take RAW images, so those cameras cannot even be considered. You need either a very high end prosumer model or preferably, a DSLR. The minimum number of pixels needs to be at least 6, but more is better.

Currently, only the Macintosh operating system supports 16 bit printing. This may change in the future, but for now it is Mac only. And of course, you will need to be using the latest versions of Lightroom and Aperture. If you do not shoot in the RAW format, but instead shoot TIFF or JPEG, then you will only be able to capture 8 bit image files. What does that mean?

The mathematical formula for working out the possible number of colors in an image is as follows; for an 8 bit image, this means you are capturing up to 256 possible variations in the brightness of each of the Red, Green and Blue pixels, so you would multiply 256*256*256 for a possible maximum number of colors of 16.8 million. This equates roughly to what the human eye can perceive. However, if we look at 16 bit images, each pixel has a possible brightness value of 65,536 values. So, if we multiply 65,536*65,536*65,536 and get about 280 trillion colors, a little more than what the eye can perceive.

So, will all these extra colors really make a big difference on the final print. It is unlikely that in most situations, that you could really detect that difference, but in prints with lots of gradients, like sunsets with subtle red, blue, orange graduated skies, 16 bit could make a significant difference. This is where the benefit of 16 bit comes into it's own, on subtle gradations or images with large color gamuts.

Tom has had a camera or mouse in his hand for more than 30 years. His step father was a well known English actor who starred in many films with the likes of Clark Gable, Ava Gardner, Grace Kelly, Maureen O'Hara, John Wayne and many others. One of his favorite movies was with John Wayne in The Quiet Man, shot in Ireland. He played the part of the visiting Bishop. After coming off set one day, he was approached two Nuns who thought he was a real bishop, and so the nickname "Bish" stuck with him from then on. He was an avis photographer, and taught me photography from the age of 12. He was a great man and a great mentor. I miss him very much. Please visit http://www.howtoshootweddings.net for more info.

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